50.000 Women Can't Be Wrong (Broken In The Groove) - (6:31) 115 BPM
The Mover (dub version) - (5:16) 115 BPM
The Mover (Party In Town) - (6:00) 100 BPM
Review: Alex Puddu is the mind behind such classics as 'The Golden Age of Danish Pornography Vol. 1 & 2', as well as 'Registrazioni al Buio'. A multi-instrumentalist, composer and funk addict hailing from Rome and based in Copenhagen collaborated with Joe Bataan: who encompasses everything that Latin Soul meant in El Barrio and to the Spanish-speaking people of NYC and beyond. Together they are Soultiger. Close your eyes and listen to this collaboration. Whether you were born and raised in Rome, Paris, London, Copenhagen or any other city, listening to Bataan and Alex's production, you will be taken back to Spanish Harlem and its mean streets. Milan's Paolo Fedreghini delvers some great remixes from the LP here, all are pure class!
Review: A timely revisit to two of the stand out covers on Italian jazz/lounge posterboy Andrea Balducci's 2012 album Bloom. "Spooky" is a soft, sweet and succinctly measured take on Shapiro and Middlebrooks' mid 60s standard while "Hurts So Bad" is a respectful twist on Weinstein, Harshman and Randazzo's similar era classic that was made famous by Linda Ronstadt years later.
Review: Time to hop over to Milan for Schema label boss Gerardo Frisina's latest offering. This time we get two tracks that capture Frisina's retro-futuristic vibe perfectly: "Passion Dance" is all deep spacey house, with hazy vintage samples wafting over gentle, almost microscopic, beats. Things get livelier on "Space In Time" with a faster, shuffley lounge beat duelling with some jazzy sax trip-outs.
Review: Milanese Schema label boss and all-round legend Gerardo Frisina teams up here with pal DJ Skizo to deliver a little two-track stop-gap release. "Voices Of The Jungle" has that familiar exotica vibe to it - all seductive piano chords and percussive breaks. Meanwhile "Orient" features a housier backing and trumpet solos aplenty.
Review: Gerarado Frisina has always been something of a vinyl enthusiast, meaning plenty of his releases have never made it to CD or digital download. It's these that form the basis of Modern Latin Jazz, a bespoke "best of" that gathers together tracks released at various points over his 16-year career. You get two of his best releases - this year's fantastic Latin Blue album and 2015's Olympia EP - in their entirety, plus tracks taken from rare and hard-to-find 12" singles from the dawn of the decade and long before. The two-disc set does a great job of showcasing Frisina's increasingly dub-tinged approach, mixing Latin jazz floor-fillers, percussive stompers and snaking jazz-house shufflers with more traditional bossa-jazz fare and the kind of warm, loose-limbed nu-jazz that was once found on Jazzanova albums.
Review: Alongside Schema label-mate Nicola Conte, Gerardo Frisina has been at the forefront of the Italian nu-jazz scene for the best part of two decades. In that time, he's released a string of fine albums, though this full-length excursion - his sixth in total - is Frisina's first since 2014. Like previous sets, it's rooted in jazz and the heavily percussive rhythms of South America, but also looks to dub and deep house for inspiration. While some of the album's more traditional moments are very good - see the breezy "Blue Latin" and "Naquela Base" - it's those blessed with heavy sub-bass and lashings of echo and delay (check "InCantao" and "Baracoa") that hit home hardest.